The deal with display, which were developed in the studios of the Academy of Arts, engage in manifold methods with the perception of reality in manifold methods; they open brand-new connections and call conventions, clichés, and certainties into question. A jury of specialists picked the most compelling creative operate in the classifications of photography, graphic art, painting, and sculpture. At the grand opening, Professor. Wiebke Möhring, Vice President Academic Affairs, presented the Aart Pprizes, each endowed with 500 euros, along with the Edition Reward.
The Prizewinners
The Art Reward in the classification of painting went to Maruah Hallal for “No Address.” The series of small-format paintings handle individuals experiencing homelessness in the city landscape and translates compassion, attention, and compassion into painting, whereby what is portrayed happens viewed once again. In this way, the life situations provided obtain a weight that is normally denied them. In the painterly look for form, observation handles shape.
In the category of graphic art, Lisa Rother got the award. Her work is radically subjective, for she examines her self through biographically considerable objects, her own body, or her environments. She explains what she focuses on with the utmost precision and cuts away the inessential. Her configurations of shifted-scale, many carefully embraced figurations expose vulnerability, instability, isolation, or damage. With this fragmentation, she responds to the disintegration of social systems.
In the classification of sculpture, the Art Reward went to Maren Schaffrinna, whose works engage with the fragility of human presence. Here, the material plays a central role, ending up being a bearer of state of minds, memories, and inner states. Her sculptural works appear like mirrors of inner experiences and stimulate images of transience, vulnerability, and memory without pinning them down unambiguously, according to the jury.
The jury granted the art prize for photography to Anna Ohla for her work “Filmriss” (“Tear in the Film”, implying a mental blackout), which engages with lost or perhaps faulty memories. When establishing the negatives of her photos handled analog movie, errors periodically take place in the chemical process. For her collages, Anna Ohla supplements these with purposeful manipulation in the picture laboratory along with handcrafted paper. In this way, she succeeds in reflecting on photography as an apparently exact, technical medium and in establishing an example to human memory gaps.
The Edition Reward of the Rectorate was awarded to Nina Burrichter. In her series of works “FAST FELS” (“ALMOST ROCK”), she develops, with an open-ended technique, a private scrape painting method utilizing tools she built herself, which she tests in a process-like way and releases with increasing function. The mountains and rocks from her series are both motif and painterly gesture, as they bring the character of items and are at the very same time an expression of the performative act of painting.